{"id":8209,"date":"2024-09-07T20:59:58","date_gmt":"2024-09-07T18:59:58","guid":{"rendered":"https:\/\/alaincardenas.com\/blog\/?p=8209"},"modified":"2024-09-07T21:13:28","modified_gmt":"2024-09-07T19:13:28","slug":"parution-%e6%96%b0%e4%b9%a6%e5%87%ba%e7%89%88","status":"publish","type":"post","link":"https:\/\/alaincardenas.com\/blog\/parution-%e6%96%b0%e4%b9%a6%e5%87%ba%e7%89%88\/","title":{"rendered":"PARUTION \/ \u65b0\u4e66\u51fa\u7248"},"content":{"rendered":"
\n
\"\"<\/a><\/figure><\/div>\n\n\n

Qu Qianmei, Ors et excentricit\u00e9s min\u00e9rales. L\u2019\u0153uvre peint<\/strong>, 2009 \u2013 2024.<\/em><\/p>\n\n\n\n

Paris : Ed. Naima, 2024. 259 p. : env. 200 ill.  Bibliog.<\/p>\n\n\n\n

29 \u20ac<\/p>\n\n\n\n

\u8be5\u4e66\u7684\u4e66\u76ee\u63cf\u8ff0\u6027\u8bf4\u660e\uff0c\u7531\u4f4d\u4e8e\u5df4\u9ece\u7684Naima\u5948\u9a6c\u51fa\u7248\u793e\u793e\u51fa\u7248<\/p>\n\n\n\n

Les textes de douze auteurs occidentaux et chinois accompagnent les \u0153uvres de deux d\u00e9cennies d\u2019un travail intense, acharn\u00e9, d\u00e9routant de cette artiste singuli\u00e8re. Qu Qianmei (1956, Rui’an, province du Zhejiang), passe de la peinture \u00e0 l\u2019encre sur papier traditionnel \u00e0 une technique complexe n\u00e9e du plaisir de l\u2019observation du travail, celui de la patine, des mati\u00e8res et du passage des couches de laque au pon\u00e7age menant \u00e0 des nuances parfois uniques. Sans oublier les ressources sombres du bois br\u00fbl\u00e9 ou le broyage des coquilles d\u2019huitres devenues un ton nacr\u00e9. Des ingr\u00e9dients magiques de sa polychromie en \u00e9paisseur rendues uniques par la pr\u00e9sence de la poudre de kaolin, du cinabre du Hunan ou du bois rouge<\/p>\n\n\n\n

Calligraphie et peinture au lavis \u00e0 l’\u00c9cole Normale de Rui’an puis peinture \u00e0 l\u2019huile et tempera \u00e0 l\u2019institut central des Beaux-arts de P\u00e9kin deviennent une typologie de peinture murale unique. Un jalon : 1986, Paris, adoption d\u2019autres r\u00e8gles de survie et de vie la rapprochant alors d\u2019artistes chinois comme Wang Yancheng qui l’initie au monde abyssal de l\u2019art abstrait. \u00ab Je me suis sentie \u2013 dit-elle en ao\u00fbt 2022 lors d\u2019un entretien en son atelier parisien – des affinit\u00e9s avec ceux qui, comme moi, ont \u00e9prouv\u00e9 ce besoin d\u2019une communion et d\u2019une m\u00eame intensit\u00e9 conceptuelle. Jalon autre, l\u2019exposition Tapi\u00e8s \u00e0 Paris en 2012, un v\u00e9ritable d\u00e9clencheur \u00bb. La p\u00e9riode r\u00e9cente des noirs lib\u00e8re des monochromes, des lithographies et s\u00e9rigraphies limit\u00e9es \u00e0 20 exemplaires, r\u00e9alis\u00e9es sur les presses de Yachang \u00e0 Shanghai sur des papiers japonais r\u00e9sistant \u00e0 des mati\u00e8res denses autant que fluides. Souvenir des tons pratiqu\u00e9s chez les peintres dits excentriques<\/em> chinois, \u00e0 l\u2019\u00e9gal des outrenoirs <\/em>de Soulages \u00ab qui s\u2019est aventur\u00e9 dans une intensit\u00e9 et une abstraction autres \u00bb.<\/p>\n\n\n\n

Les alternances entre les noirs, les polychromies \u00e9paisses <\/em>et les ors renvoient \u00e0 celles de la peinture siennoise dont les fonds rev\u00eatus de feuille d\u2019or disaient combien l\u2019artiste traduit la perfection divine dont il est une parcelle signifiante (ChC).<\/p>\n\n\n\n

\u5341\u4e8c\u4f4d\u897f\u65b9\u548c\u4e2d\u56fd\u4f5c\u5bb6\u7684\u6587\u5b57\u4f34\u968f\u7740\u8fd9\u4f4d\u72ec\u7279\u827a\u672f\u5bb6\u4e8c\u5341\u5e74\u6765\u6fc0\u70c8\u3001\u65e0\u60c5\u3001\u4ee4\u4eba\u4e0d\u5b89\u7684\u4f5c\u54c1\u3002\u77bf\u5029\u6885\uff081956\u5e74\u751f\u4e8e\u6d59\u6c5f\u7701\u745e\u5b89\u5e02\uff09\u4ece\u4f20\u7edf\u7eb8\u4e0a\u7684\u6c34\u58a8\u753b\u8f6c\u5411\u4e00\u79cd\u4e00\u79cd\u590d\u6742\u800c\u53c8\u6709\u70b9\u79d8\u5bc6\u7684\u6280\u672f\uff0c\u6e90\u4e8e\u89c2\u5bdf\u4f5c\u54c1\u7684\u4e50\u8da3\uff0c\u5373\u94dc\u7eff\u3001\u6750\u6599\u548c\u6f06\u5c42\u7684\u8fc7\u6e21\uff0c\u518d\u5230\u6253\u78e8\uff0c\u6709\u65f6\u4f1a\u4ea7\u751f\u72ec\u7279\u7684\u8272\u8c03\u3002\u66f4\u4e0d\u7528\u8bf4\u70e7\u7126\u7684\u6728\u5934\u7684\u9ed1\u6697\u8d44\u6e90\u6216\u5df2\u6210\u4e3a\u73cd\u73e0\u8272\u8c03\u7684\u7261\u86ce\u58f3\u7684\u538b\u788e\u3002\u5176\u539a\u5ea6\u591a\u8272\u7684\u795e\u5947\u6210\u5206\u56e0\u9ad8\u5cad\u571f\u7c89\u3001\u6e56\u5357\u6731\u7802\u6216\u7ea2\u6728\u7684\u5b58\u5728\u800c\u72ec\u4e00\u65e0\u4e8c .<\/p>\n\n\n\n

\u745e\u5b89\u5e08\u8303\u5b66\u6821\u7684\u4e66\u6cd5\u548c\u6c34\u58a8\u753b\u4ee5\u53ca\u5317\u4eac\u4e2d\u592e\u7f8e\u672f\u5b66\u9662\u7684\u6cb9\u753b\u548c\u86cb\u5f69\u753b\u6210\u4e3a\u58c1\u753b\u7684\u72ec\u7279\u7c7b\u578b\u30021986 \u5e74\u662f\u4e00\u4e2a\u91cd\u8981\u7684\u65e5\u5b50\uff0c\u5728\u5df4\u9ece\uff0c\u77bf\u5029\u6885\u4e60\u60ef\u4e86\u5176\u4ed6\u751f\u6d3b\u89c4\u5219\uff0c\u7136\u540e\u5979\u4e0e\u738b\u71d5\u57ce\u7b49\u4e2d\u56fd\u827a\u672f\u5bb6\u8d70\u5f97\u66f4\u8fd1\uff0c\u738b\u884d\u6210\u5c06\u5979\u5e26\u5165\u4e86\u62bd\u8c61\u827a\u672f\u7684\u6df1\u6e0a\u4e16\u754c\u30022022 \u5e74 8 \u6708\uff0c\u5728\u5979\u7684\u5df4\u9ece\u5de5\u4f5c\u5ba4\u63a5\u53d7\u91c7\u8bbf\u65f6\uff0c\u5979\u8bf4\uff1a\u201c\u6211\u4e0e\u90a3\u4e9b\u50cf\u6211\u4e00\u6837\u611f\u53d7\u5230\u9700\u8981\u5171\u878d\u548c\u76f8\u540c\u6982\u5ff5\u5f3a\u5ea6\u7684\u4eba\u6709\u4e00\u79cd\u4eb2\u548c\u529b\u3002\u53e6\u4e00\u4e2a\u91cd\u8981\u7684\u65e5\u671f\u662f 2012 \u5e74\u5728\u5df4\u9ece\u4e3e\u529e\u7684 Tapi\u00e8s (\u5854\u76ae\u57c3) \u5c55\u89c8\u3002\u8fd9\u662f\u4e00\u4e2a\u771f\u6b63\u7684\u542f\u793a\u3002\u5176\u521b\u5efa\u7684\u6700\u65b0\u65f6\u671f .<\/p>\n\n\n\n

\u5c55\u793a\u9650\u91cf 20 \u4efd\u7684\u5355\u8272\u9ed1\u8272\u3001\u77f3\u7248\u753b\u548c\u4e1d\u7f51\u5370\u5237\u54c1\uff0c\u8fd9\u4e9b\u5370\u5237\u54c1\u7531\u4e0a\u6d77\u7684\u4e9a\u660c\u5370\u5237\u673a\u5728\u8010\u81f4\u5bc6\u548c\u6d41\u4f53\u6750\u6599\u7684\u65e5\u672c\u7eb8\u4e0a\u5236\u4f5c\u3002\u5bf9\u6240\u8c13\u53e4\u602a\u7684\u4e2d\u56fd\u753b\u5bb6\u6240\u91c7\u7528\u7684\u8272\u8c03\u7684\u8bb0\u5fc6\uff0c\u4e0e\u82cf\u62c9\u5409\u7684 \u201c\u5192\u9669\u8fdb\u5165\u4e0d\u540c\u7684\u5f3a\u5ea6\u548c\u62bd\u8c61 \u201d\u7684\u5916\u4eba\u76f8\u63d0\u5e76\u8bba\u3002\u9ed1\u8272\u3001\u539a\u91cd\u7684\u591a\u8272\u548c\u91d1\u8272\u4e4b\u95f4\u7684\u4ea4\u66ff\u8ba9\u4eba\u60f3\u8d77\u9521\u8036\u7eb3\u7ed8\u753b\uff0c\u5176\u80cc\u666f\u4e0a\u8986\u76d6\u7740\u91d1\u7b94\uff0c\u663e\u793a\u4e86\u827a\u672f\u5bb6\u5728\u591a\u5927\u7a0b\u5ea6\u4e0a\u8be0\u91ca\u4e86\u4ed6\u4f5c\u4e3a\u91cd\u8981\u7ec4\u6210\u90e8\u5206\u7684\u795e\u5723\u5b8c\u7f8e .<\/p>\n","protected":false},"excerpt":{"rendered":"

Qu Qianmei, Ors et excentricit\u00e9s min\u00e9rales. L\u2019\u0153uvre peint, 2009 \u2013 2024. Paris : Ed. Naima, 2024. 259 p. : env. 200 ill.  Bibliog. 29 \u20ac \u8be5\u4e66\u7684\u4e66\u76ee\u63cf\u8ff0\u6027\u8bf4\u660e\uff0c\u7531\u4f4d\u4e8e\u5df4\u9ece\u7684Naima\u5948\u9a6c\u51fa\u7248\u793e\u793e\u51fa\u7248 Les textes de douze auteurs occidentaux et chinois accompagnent les \u0153uvres de deux d\u00e9cennies d\u2019un travail … Continuer la lecture →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"sfsi_plus_gutenberg_text_before_share":"","sfsi_plus_gutenberg_show_text_before_share":"","sfsi_plus_gutenberg_icon_type":"","sfsi_plus_gutenberg_icon_alignemt":"","sfsi_plus_gutenburg_max_per_row":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[41,21,1],"tags":[45,32,8,9],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8Mijt-28p","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":9348,"url":"https:\/\/alaincardenas.com\/blog\/un-portrait-de-chang-shuhong-par-zhang-hua\/","url_meta":{"origin":8209,"position":0},"title":"UN PORTRAIT DE CHANG SHUHONG PAR ZHANG HUA","author":"admin","date":"2026-01-09","format":false,"excerpt":"\u5f20\u534e\u7684\u5e38\u4e66\u9e3f\u8096\u50cf\u00a0\u00a0 \u00a0\u00a0\u67ef \u5b5f\u5fb7\u8457 par Christophe Comentale La version en fran\u00e7ais est \u00e0 la suite de la version en chinois. \u5f20\u534e\uff081898-1970\uff09\uff0c\u753b\u5bb6\u3001\u753b\u5e08\uff0c\u591a\u5e74\u6765\u4e00\u76f4\u662f\u5173\u4e8e\u5176\u7ed8\u753b\u4f5c\u54c1\u53cd\u590d\u7814\u7a76\u7684\u5bf9\u8c61\u3002\u8fc4\u4eca\u5df2\u77e5\u6709\u6570\u767e\u4ef6\u4f5c\u54c1\u3002\u968f\u7740\u8fd9\u5e45\u5f69\u8272\u94c5\u7b14\u8096\u50cf\u7684\u53d1\u73b0\uff0c\u4ec5\u51fa\u4e8e\u597d\u5947\uff0c\u4eba\u4eec\u4e0d\u5f97\u4e0d\u5173\u6ce8\u8fd9\u4f4d\u4f4e\u8c03\u753b\u5bb6\u4e0e\u6566\u714c\u7814\u7a76\u9662\u521b\u59cb\u4eba\u4e4b\u95f4\u53ef\u80fd\u5efa\u7acb\u7684\u8054\u7cfb\u3002 Ci-dessus, de gauche \u00e0 droite. (ill. 1) photo des artistes chinois \u00e0 Paris (1933) \/ (ill. 2) Portrait de Chang Shuhong par Zhang Hua \u4ece\u5de6\u5230\u53f3\uff1a\u5df4\u9ece\u7684\u4e2d\u56fd\u827a\u672f\u5bb6\u7167\u7247\uff081933\uff09\/ \u5f20\u534e\u4e3a\u5e38\u4e66\u9e3f\u6240\u4f5c\u8096\u50cf \u5f20\u534e\uff0c\u4e00\u751f\u6b63\u5982\u6211\u5728\u5176\u4ed6\u5730\u65b9\u6240\u63d0\u5230\u7684\uff0c\u4e5f\u5982\u4e00\u4e9b\u4e2d\u56fd\u827a\u672f\u5bb6\u6240\u8bc1\u5b9e\u7684\uff0c\u5c24\u5176\u662f\u8303\u4e00\u592b\u6240\u8a00\uff0c\u201c\u5f20\u534e\u5bf9\u4e8e\u73b0\u4ee3\u827a\u672f\u7231\u597d\u8005\u6765\u8bf4\u5e76\u4e0d\u964c\u751f\uff0c\u4ed6\u4e5f\u53d7\u5230\u4e2d\u56fd\u827a\u672f\u6536\u85cf\u5bb6\u7684\u559c\u7231\u201d\uff0c\u5c3d\u7ba1\u4ed6\u7684\u4f20\u8bb0\u975e\u5e38\u4e0d\u786e\u5b9a\uff0c\u4f46\u8fc7\u53bb\u5341\u5e74\u6765\uff0c\u827a\u672f\u5e02\u573a\u7684\u53c2\u4e0e\u8005\u5e2e\u52a9\u4eba\u4eec\u66f4\u597d\u5730\u4e86\u89e3\u4e86\u8fd9\u4f4d\u521b\u4f5c\u8005\uff1a\u201c\u4e00\u4f4d\u827a\u672f\u5546\u548c\u6536\u85cf\u5bb6\u8bf4\u2014\u2014\u6211\u66fe\u7ecf\u624b\u4e2d\u62ff\u5230\u4e00\u672c\u7531\u827a\u672f\u5bb6\u4eb2\u8fd1\u4eba\u58eb\u63d0\u4f9b\u7684\u5f20\u534e\u7b80\u8981\u4f20\u8bb0\u3002\u8be5\u6587\u4ef6\u548c\u90a3\u4f4d\u670b\u53cb\u4e4b\u540e\u90fd\u5931\u8e2a\u4e86\uff0c\u8fd9\u4e9b\u6709\u9650\u7684\u4fe1\u606f\u88ab\u91cd\u590d\u5f15\u7528\uff0c\u4f46\u4eba\u4eec\u5bf9\u8fd9\u4f4d\u753b\u5bb6\u77e5\u4e4b\u751a\u5c11\u3002\u201d\u5e03\u4e3d\u5409\u7279\u00b7\u5361\u7f2a(Brigitte Camus) \u5bf9\u8fd9\u4f4d\u753b\u5bb6\u7684\u7b80\u77ed\u4ecb\u7ecd\u4e5f\u8bc1\u5b9e\u4e86\u5df2\u77e5\u7684\u4fe1\u606f\u3002 \u00a0\u2026","rel":"","context":"Dans "Asie"","block_context":{"text":"Asie","link":"https:\/\/alaincardenas.com\/blog\/category\/asie\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/alaincardenas.com\/blog\/wp-content\/uploads\/2026\/01\/Capture-decran-2026-01-09-a-20.19.51.png?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":4393,"url":"https:\/\/alaincardenas.com\/blog\/parution-du-catalogue-de-lexposition-du-livre-darcheologie-au-livre-dartiste-est-ouest\/","url_meta":{"origin":8209,"position":1},"title":"PARUTION","author":"admin","date":"2019-11-17","format":false,"excerpt":"par Christophe Comentale et\u00a0Alain Cardenas-Castro Un texte qui date d\u00e9j\u00e0, Pour une nouvelle bibliophilie, texte que j\u2019avais r\u00e9dig\u00e9 en 1991 pour la revue AML, me faisait (me) poser la question de la n\u00e9cessit\u00e9 de certains formalismes, de leur persistance \u00e9trange,\u2026 Cette id\u00e9e, depuis les ann\u00e9es 90 nous a sembl\u00e9 devoir\u2026","rel":"","context":"Dans "Asie"","block_context":{"text":"Asie","link":"https:\/\/alaincardenas.com\/blog\/category\/asie\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/alaincardenas.com\/blog\/wp-content\/uploads\/2019\/11\/page-de-titre.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/alaincardenas.com\/blog\/wp-content\/uploads\/2019\/11\/page-de-titre.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/alaincardenas.com\/blog\/wp-content\/uploads\/2019\/11\/page-de-titre.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/alaincardenas.com\/blog\/wp-content\/uploads\/2019\/11\/page-de-titre.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/alaincardenas.com\/blog\/wp-content\/uploads\/2019\/11\/page-de-titre.jpg?resize=1050%2C600&ssl=1 3x"},"classes":[]},{"id":2339,"url":"https:\/\/alaincardenas.com\/blog\/du-livre-darcheologie-au-livre-dartiste-dest-en-ouest\/","url_meta":{"origin":8209,"position":2},"title":"Du livre d\u2019arch\u00e9ologie au livre d\u2019artiste d\u2019Est en Ouest","author":"admin","date":"2018-07-23","format":false,"excerpt":"par Alain Cardenas-Castro et Christophe Comentale Pour une nouvelle bibliophilie, un texte que j\u2019avais r\u00e9dig\u00e9 en 1991 pour la revue AML, me faisait (me) poser la question sur la n\u00e9cessit\u00e9 de certains formalismes, sur leur persistance \u00e9trange,\u2026 Cette id\u00e9e, depuis les ann\u00e9es 90 nous a sembl\u00e9 devoir continuer d\u2019\u00e9voluer, ou,\u2026","rel":"","context":"Dans "Asie"","block_context":{"text":"Asie","link":"https:\/\/alaincardenas.com\/blog\/category\/asie\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/alaincardenas.com\/blog\/wp-content\/uploads\/2018\/07\/bouquet-de-bouleaux.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":9190,"url":"https:\/\/alaincardenas.com\/blog\/zhang-hua-le-visiteur-inattendu-et-discret-de-cocteau-et-de-van-dongen-a-paris-14e\/","url_meta":{"origin":8209,"position":3},"title":"Zhang Hua, le visiteur inattendu et discret de Cocteau et de Van Dongen \u00e0 Paris 14e","author":"admin","date":"2025-09-22","format":false,"excerpt":"par Alain Cardenas-Castro Exposition Zhang Hua, Espace F360 Librairie Galerie Salon de Th\u00e9, 5, rue Mignon, Paris 6e. Exposition du 23 septembre au 18 octobre 2025, vernissage le 25 septembre de 18 \u00e0 21 h. Le samedi 4 octobre, de 15 h \u00e0 17 h, conf\u00e9rence de M. Christophe Comentale\u2026","rel":"","context":"Dans "Asie"","block_context":{"text":"Asie","link":"https:\/\/alaincardenas.com\/blog\/category\/asie\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/alaincardenas.com\/blog\/wp-content\/uploads\/2025\/09\/carte-inviitation-expo-Zhang-Hua.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":2242,"url":"https:\/\/alaincardenas.com\/blog\/des-trompe-loeil-chinois-xviie-xxe-s-des-huit-cassures-aux-collages-paysans\/","url_meta":{"origin":8209,"position":4},"title":"Des trompe-l\u2019\u0153il chinois, XVIIe \u2013 XXe s., des huit cassures aux collages paysans\u00a0:","author":"admin","date":"2018-07-01","format":false,"excerpt":"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Collages (1980 ca) Pi\u00e8ces de tissus coll\u00e9es, 57 x 48 cm (ancienne coll. FD) La cr\u00e9ation r\u00e9cente du Mus\u00e9e chinois du quotidien \u00e0 Lod\u00e8ve s\u2019accompagne de la pr\u00e9sentation d\u2019un floril\u00e8ge de collages ex\u00e9cut\u00e9s sur tissu durant les ann\u00e9es 1970-1980 dans le Nord de la Chine.\u2026","rel":"","context":"Dans "Asie"","block_context":{"text":"Asie","link":"https:\/\/alaincardenas.com\/blog\/category\/asie\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/alaincardenas.com\/blog\/wp-content\/uploads\/2018\/07\/pdf-1-Trompe-l\u00c5\u0093il.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":9412,"url":"https:\/\/alaincardenas.com\/blog\/a-propos-dolivier-allemane-1959-2026-peintre-du-bonheur\/","url_meta":{"origin":8209,"position":5},"title":"A PROPOS D\u2019OLIVIER ALLEMANE (1959-2026).\u00a0 PEINTRE DU BONHEUR","author":"admin","date":"2026-02-25","format":false,"excerpt":"par Christophe Comentale Le peintre du bonheur. C\u2019est ainsi qu\u2019Olivier Allemane s\u2019est d\u00e9fini au cours de quarante ann\u00e9es de cr\u00e9ation. N\u00e9 le 1er janvier 1959\u00a0\u00e0 la Ch\u00e2tre, [dans l\u2019Indre], jour de nouvel an solaire, Olivier Allemane est d\u00e9c\u00e9d\u00e9 le 17 f\u00e9vrier 2026, jour de nouvel an lunaire, \u00e0 Paris, son\u2026","rel":"","context":"Dans "Europe"","block_context":{"text":"Europe","link":"https:\/\/alaincardenas.com\/blog\/category\/europe\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/alaincardenas.com\/blog\/wp-content\/uploads\/2026\/02\/5.-OA-Regard-devant.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/alaincardenas.com\/blog\/wp-json\/wp\/v2\/posts\/8209"}],"collection":[{"href":"https:\/\/alaincardenas.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/alaincardenas.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/alaincardenas.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/alaincardenas.com\/blog\/wp-json\/wp\/v2\/comments?post=8209"}],"version-history":[{"count":3,"href":"https:\/\/alaincardenas.com\/blog\/wp-json\/wp\/v2\/posts\/8209\/revisions"}],"predecessor-version":[{"id":8215,"href":"https:\/\/alaincardenas.com\/blog\/wp-json\/wp\/v2\/posts\/8209\/revisions\/8215"}],"wp:attachment":[{"href":"https:\/\/alaincardenas.com\/blog\/wp-json\/wp\/v2\/media?parent=8209"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/alaincardenas.com\/blog\/wp-json\/wp\/v2\/categories?post=8209"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/alaincardenas.com\/blog\/wp-json\/wp\/v2\/tags?post=8209"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}